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La Música, Los Instrumentos Y Las Danzas Andalusíes Y

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La Música, Los Instrumentos Y Las Danzas Andalusíes Y LA MÚSICA, LOS INSTRUMENTOS Y LAS DANZAS ANDALUSÍES Y MORISCAS EN LAS FUENTES ÁRABES Y CRISTIANAS (SS. IX-XVII) Manuela Cortés García Universidad de Granada Resumen La aparición durante las últimas décadas de nuevas fuentes documentales árabes en biblio- tecas públicas y privadas que aportan noticias sobre la música de al-Ándalus (ss. ix-xv) y los avances realizados en el campo de la investigación interdisciplinar nos permiten hoy forjar la historiografía de esta parte del patrimonio andalusí en el marco de la musicología medieval española. En este sentido, mi intervención se centrará en: a) destacar la importancia de la música y los instrumentos en la cultura andalusí; b) la pedagogía musical aplicada en las cortes más florecientes; c) tipologías de las danzas que se interpretaban en el ámbito corte- sano andalusí y el popular morisco, ante lo que nos ofrecen las fuentes textuales y artísticas. Palabras clave: danzas, interdisciplinariedad, moriscos, música andalusí, nawba, orga- nología, teóricos, tratados. ANDALUSIAN AND MOORISH MUSIC, INSTRUMENTS AND DANCES IN ARAB AND CHRISTIAN SOURCES (9th-17th CENTURIES) Abstract 147 The new Arabic documentary sources discovered over the last decades in public and private libraries have brought new information about the music in al-Ándalus (9th-15th). The advances made in the fields of interdisciplinary research allow us to forge the historiography of this part of the Andalusian heritage within the framework of Spanish medieval Musicology. In this sense, and in view of what textual and artistic sources offer us, our contribution will focus on emphasizing the following: a) the importance of music and instruments in the Andalusian culture; b) the musical pedagogy applied in the most flourishing courts; c) the typologies of the dances that were represented in the court of al-Ándalus and the popular ambiances inside Moorish traditions. Keywords: dances, interdisciplinarity, Moorish, Andalusian music, nawba, organology, theorists, treatises. CUADERNOS DEL CEMYR, 25; 2017, PP. 147-190 PP. CUADERNOS DEL CEMYR, 2017, 25; DOI: http://doi.org/10.25145/j.cemyr.2017.25.003 Cuadernos del CEMyR, 25; septiembre 2017, pp. 147-190; ISSN: e-2530-8378 INTRODUCCIÓN Buena parte de los musicólogos medievalistas han mantenido durante siglos la idea de la oralidad de la música de al-Ándalus, la ausencia de tratados musicales y de notación musical que permitieran el estudio científico de la música. Sin em- bargo, los avances llevados a cabo por los investigadores (arabistas y musicólogos) han demostrado que, aunque una parte de la poesía cantada se transmitía de forma oral, no es menos cierto que se escribieron varios cancioneros con distintos reperto- rios. Numerosos fueron también los tratados musicales escritos aunque sólo se haya conservado una parte de los mismos. En cuanto a la transcripción musical de las melodías, algunos de los tratados andalusíes y moriscos conservados muestran que el sistema utilizado era la notación alfabético-numérica. 1. VALORACIÓN DE LA MÚSICA Y LOS INSTRUMENTOS EN LOS TRATADOS INTERDISCIPLINARES DE LOS TEÓRICOS ANDALUSÍES En la formación de la música andalusí de carácter culto en el período omeya, destacaría, en primer lugar, la importancia de las obras clásicas del legado hindú, griego y árabe oriental adquiridas en Oriente por los emisarios de los emires anda- lusíes durante los primeros siglos del islam andalusí. Tras los procesos de arabización e islamización de los estamentos políticos, religiosos y culturales andalusíes, estas primeras obras debieron contribuir al transvase de los conocimientos musicales de Oriente a al-Ándalus, además de servir de base en la aplicación de los sistemas pe- 148 dagógicos en las cortes y las escuelas musicales esparcidas por la geografía andalusí, factores que contribuirían a forjar los cimientos teóricos e interpretativos de la música de la tradición culta conocida como las nawba-s (suite clásica)1. Sobre el proceso de orientalización en la música de al-Ándalus en los primeros siglos del islam andalusí resulta revelador el testimonio del tunecino Ahmad Tifashi (1184-1253) en el volumen xli de su enciclopedia dedicado a la música: Mut‘at al- asma‘ fi ‘ilm al-sama’(El placer de los oídos ante la ciencia de la audición música), cuando sobre la impronta oriental señala: a. «El canto de las gentes de al-Ándalus era en lo antiguo, o bien por el estilo de los cristianos o bien por el estilo de los camelleros (hudat)2 árabes, sin que tuvieran normas sobre las cuales basarse hasta el establecimiento de la dinastía omeya». CUADERNOS DEL CEMYR, 25; 2017, PP. 147-190 PP. CUADERNOS DEL CEMYR, 2017, 25; 1 L.I. Faruqi-al, «Nawbah», An Annotated Glossary of Arabic Musical Terms. Westport, Conn, Greenwood, 1981, pp. 234-236. 2 Prototipo del canto monódico de los caravaneros beduinos. b. «En tiempos de al-Hakam I el del Arrabal, vinieron al Emir desde Oriente [Medina] y desde Ifriqiya [Norte de África] gentes que dominaban el arte de las melodías de Medina [Escuela del Hiyaz]. Los andaluces aprendieron de ellos»3. Tifashi añade que «esos cantos primitivos evolucionaron hacia una música más depurada que era reflejo fiel de la que se escuchaba en las cortes omeya y abasí en Oriente, ya que gran parte de los poemas cantados habían sido extraídos del Kitab al-Aghani (Libro de las Canciones) de al-Isfahani»4, cancionero adquirido en Oriente por emisarios del emir al-Hakam I. Fundamental sería, además, el testi- monio del historiador cordobés Ibn al-Hayyan (s. xi), al puntualizar, en el capítulo «Ziryab el mejor cantor de al-Ándalus» de al-Muqtabis II-1 que este músico oriental establecería las bases codificadas de la interpretación de la nawba, en cuanto a la introducción recitativa (al-nashid) y las fases rítmicas por las que debían regirse los músicos: «Comenzando con el nashid al principio de la canción, sea cual sea su tañido, siguiendo con el basit [primer ritmo] y cerrando con muharrakat y hazay [progresión hacia otros más rápidos]»5. Si comparamos las reglas establecidas en la rítmica de las nawba-s por el laudista y maestro oriental con lo recogido por Muhammad al-Husayn al-Ha’ik al-Titwani al-Ándalusi (s. xviii)6, recopilador tetuaní de origen andalusí y posible morisco, en su Kunnas al-Ha’ik (Cancionero de al-Ha’ik) sobre las nawbas de la tradi- ción culta andalusí, observamos que se han mantenido las fases rítmicas, comenzando con un ritmo lento y majestuoso (basit) y precedido de otros más acelerados (qa’ im wa-nisf, bitayhi y quddam) que se corresponderían con lento, adagio, allegro y presto7, lo que confirma la vigencia de la cadena transmisora al-Ándalus-Magreb. Según todo parece indicar, durante el período emiral el sello oriental estaba presente en la 149 interpretación de los repertorios poéticos centrados en el canto de la qasida clásica oriental, así como las melodías y los estilos medineses, a los que se incorporarían, siglos después, los géneros estróficos de la moaxaja y el zéjel, probablemente con Ibn Bayya (Avempace). 3 E. García GÓMEZ, «Una extraordinario página de Tifashi y una hipótesis sobre el inventor del zéjel» en Etúdes d’Orientlisme dedieés á la memoire de Levi-Provençal, París, Maisonneuve et Larose, 1962, pp. 517-523, p. 519. 4 J. Monroe, «Ahmad Tifashi on Andalusiam Music», en B. Liu y J. Monroe, Ten Hispano-Arabic Strophic Songs in the Modern Oral Tradition, Music and Texts, Berkeley, University of California Publications, Modern Philology, vol. 125, 1989, pp. 35-44, p. 42. 5 Ibn hayyan, Al-Muqatbis II-1. Edición facsímil de Vallbé Bermejo, Joaquín, Madrid, Academia Real de la Historia, 1999, fol. 147v; F. Corrientes Córdoba y M.A. Makki (trads.), CUADERNOS DEL CEMYR, 25; 2017, PP. 147-190 PP. CUADERNOS DEL CEMYR, 2017, 25; Crónicas de los emires Alhakam I y Abdarrahmán II entre los años 796 y 847 [Almuqtabis II-I]. Zaragoza, Instituto de Estudios Islámicos y de Oriente Medio, 2001, p. 107. 6 M. Cortés García, «al-Ha’ik», Diccionario de Autores y Obras Andalusíes. Granada, Fun- dación El Legado Andalusí. Granada, 2002, vol. i, pp. 233-236. 7 M. Cortés García, «Perfil de la nawba durante el período omeya», en El saber en al- Ándalus, Sevilla, 1997, pp. 51-64. Entre las obras del legado clásico griego adquiridas para el emir al-Hakam I (796-822) se encuentran las Armónicas y el Almagesto de Tolomeo (s. ii). Asimismo, durante el reinado de al-Hakam II (961-976) se compró el Kitab al-Agani (Libro de las Canciones) de al-Isfahani (m. 950) y Kitab al-Musiqà al-Kabir (El Gran Libro sobre la Música) de Alfarabi (875-950), manuscrito del que se conserva una copia en la Biblioteca Nacional de Madrid (Ms. Res. 241) fechada en el siglo xii8 y del que se hicieron distintas copias. Más tarde se adquirirían el Kanun fi l-tibb(El canon de la Medicina) de Avicena (980-1037). Ahmad al-Muqtadir de Zaragoza sería el encargado de enviar al científico Abu al-Hakam al-Kirmani (m. 1066) «El de Carmona» a Oriente para comprar obras científicas orientales como lasRasa’il de los Ijwan al Safa’ (Hermanos de la Pureza, s. x), que incluían una Risalat al-musiqà (Epístola sobre la música) sobre la que el matemático y astrólogo madrileño Maslama al-Mayriti (m. 1007) haría una copia9. Resulta evidente que los fondos bibliográficos reunidos en las bibliotecas, públicas y privadas durante los siglos ix-xi, tras importar de Bagdad, El Cairo y Alejandría los tratados más conocidos del acervo cultural clásico, y el mecenazgo de los emires omeyas en Córdoba, al-Hakam I, al-Hakam II, ‘Abd al-Rahman II y el emir de la taifa de Zaragoza, Ahmad al-Muqtadir, contribuyeron a la creación de escuelas musicales, a cargo de maestros y músicos orientales y andalusíes.
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